Hag-Seed

by

Margaret Atwood

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Hag-Seed: Chapter 16 Summary & Analysis

Summary
Analysis
Felix begins his next class by dramatically announcing that he’s persuaded an “exceptional” actress to take on the role of Miranda. The players cheer and he loads a clip of Anne-Marie dancing onto the class computer. Everyone is impressed to see Anne Marie in a halter top and shorts, performing a difficult and combative routine with a male partner. Someone says admiringly that “she could tear a whoreson strip off you.” When the video stops, the men exhale in unison.
The prisoners like Anne-Marie because she’s both attractive and tough in a way they regard as essentially masculine. As such, her respected position among them depends on her possession of both conventionally male and female attributes.
Themes
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Trying to sound formal and distant, Felix says that Anne-Marie will come to the prison for a read-through next week. Still, he can’t keep the prisoners from launching into a lively discussion of her physical merits. He warns them not to “cross her,” as she’s certainly formidable enough to handle them.
Even though he’s just trying to maintain a professional atmosphere, Felix is already adopting a paternal attitude towards Anne-Marie—much like Prospero’s behavior towards his daughter Miranda.
Themes
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Felix shifts the discussion to a more difficult topic: who will take on Ariel’s part. Several actors immediately say “no way” to the idea of playing a fairy, and someone suggests Felix bring in another actor. Felix understands that no one wants to play a character who seems so obviously gay, especially since Ariel has a song in which he says he “sucks” flowers “like a bee.” It’s pointless for him to explain the connotations of fairies or even the word “suck” in Shakespearean times.
Felix generally proceeds as if there’s no difference between performing Shakespeare in a prison or on a professional stage, but at times he has to confront the challenges specific to this environment. While they may be thoughtful students within Felix’s class, in the rest of their lives the prisoners have to maintain tough and disaffected personas.
Themes
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Instead, Felix encourages the actors to think more “widely” about Ariel. He points out his many superpowers—the spirit can be invisible, can conjure up thunder and wind, and can fly. Most importantly, he’s not a human. If they hadn’t read the play, Felix asks, and he mentioned such a character, what would they think of? After some muttering, Leggs admits that Ariel sounds somewhat like a superhero. Someone compares him to an alien from Star Trek, doing tasks in order to be reunited with his people.
Encouraging the actors to transpose the play’s characters into a more modern context, Felix is again embracing the prospect of transformation—not just for the actors, but for the play itself.
Themes
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Felix encourages the actors to discuss possible costumes for Ariel, and PPod suggests green skin and bug eyes; Red Coyote says he’s probably a vegan, and would eschew human food. In this way, the actors are able to accept the “bee-sucking” part of the play.
Felix suggests that it’s through innovative and modern representations like this that Shakespeare is able to survive and remain relatable through the centuries.
Themes
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Next Felix asks the class to think about what would happen without Ariel’s role in the play. In fact, by summoning Prospero’s tempest and creating illusions throughout the play, he emerges as the most important character. In the modern world, he’d be a “special-effects guy” or a “digital expert.” 8Handz says that this is “scurvy cool.” Felix promises that in this production, the actor who plays Ariel will also be in charge of lighting, sound, and special effects—this adds an additional incentive for someone to take on the job. When he asks who wants to be on Ariel’s team, everyone raises his hand.
It’s interesting that Felix is able to see Ariel as the play’s most important character. After all, he’s going to play Prospero, and he has generally considered the play as revolving around the wizard’s relationship with his daughter and desire for revenge. This speech suggests that he’s broadening his originally solipsistic conception of the play and his own role within it.
Themes
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